Photograph captures panel session held in conference environment with five speakers seated in front of projection screen. Session is part of MAPP PRO program dated 28 September, scheduled from 10:30 to 12:00 at Mila (Quebec Artificial Intelligence Institute).

Projection screen behind panel displays event details. Title indicates focus on augmented creation, examining how artificial intelligence transforms artistic practices and reshapes perception of digital culture: “Création augmentée: comment l’IA transforme l’expression artistique et la perception culturelle numérique.” Speaker images and names are arranged on right side of slide, while event branding and partner logos are visible at edges.

Panel composition includes five individuals seated in single row with handheld microphones. Participants wear casual to semi-formal attire. Rightmost speaker, dressed in dark jacket and glasses, is actively speaking while holding microphone. Central figures are seated with neutral postures, one clasping notes or device. Leftmost participant wears patterned shirt, contrasting with darker clothing of others.

Foreground includes Mila logo in large semi-transparent purple lettering projected digitally onto photograph’s corner, linking event to host institution. Surrounding environment includes exposed ceiling infrastructure, suspended lighting fixtures, and minimalist industrial-style interior common to academic or research venues.

Overall, the photograph documents public discourse on intersection of artificial intelligence and artistic expression within institutional framework, highlighting collaborative exploration of cultural and technological integration.

The figure contains two conceptual visualizations that outline relationships in human-computer interaction and applied learning activities.

On the left, a Venn diagram and flow structure illustrate Human-Computer Interaction (HCI) as an interdisciplinary field situated at the intersection of Computer Science, Human Factors Engineering, and Cognitive Science. Beneath, the chart identifies different modalities of Cognitive Interaction: Sight, Touch, Hearing, Voice, and Spatial. These modalities are then linked to specific interaction input/output mechanisms. Interaction I includes Mouse and Keyboard as input, Touch screen UI as input, Monitors and Speakers as output, and Screen with Speakers and Vibrations as output. Interaction II includes Voice as input/output, Body Movement as input/output, Gesture and Face as input/output, Sensors as output, and Screen with Speakers as output.

On the right, an Activity Theory triangle model structures a learning process with interlinked nodes. The Subject is defined as student participants. The Tools include Moodle, computer, and YouTube clips. The Object is to critically reflect and critique topic questions and key ideas from literature. The Outcome is applicable knowledge. Rules include APA referencing style, word limits, and three contributions per week. The Community is defined as peers and lecturer. Division of Labour refers to the lecturer providing voice files to individual groups and plenary files to all.

The diagram is represented with bidirectional arrows showing reciprocal influence between all elements, emphasizing dynamic relationships between tools, participants, and rules in knowledge production. Together, the two sections of the figure link the interdisciplinary foundation of HCI with a pedagogical model of mediated student activity, illustrating both technical modalities of interaction and structured learning frameworks.

Rectangular array of illustrated frames arranged into a multi-row grid, each compartment presenting a discrete narrative scene rendered with consistent stylistic treatment. The visual content integrates anthropomorphic bread-like spheres and loaves depicted in muted tones of brown, ochre, gray, and white. Characters frequently appear as rounded bread masses endowed with minimal features such as limbs or postures, inhabiting domestic, architectural, and symbolic environments.

Top row includes figures seated together, spherical bread objects presented on table settings, and interactions with larger architectural structures such as walls and apertures. Subsequent panels illustrate multiple loaves clustered together, singular oversized bread forms juxtaposed with human-scale furniture, and processions of spherical figures moving collectively across terrains. Several frames include symbolic objects: loudspeaker, stage curtain, obelisk, and architectural colonnade, introducing civic or ritualistic context.

The central rows emphasize congregations of bread-like beings, often grouped in triads or quartets, engaging in ambiguous activities within shadowed spaces. One panel presents a spherical form balancing on a column structure resembling a neoclassical building pediment, while another shows a figure approaching a staircase leading into a monumental darkened void. Other scenes depict resting figures positioned on beds, interaction with rope-like appendages, or entrapment within mechanical structures.

Stylistic consistency is marked by soft shading gradients producing volumetric illusion, combined with darkened backgrounds that accentuate the rounded forms. Light sources are directed at oblique angles, casting shadows that emphasize mass and surface curvature. Textures replicate bread crust through blended tonal transitions, while surrounding environments are treated with architectural and sculptural precision.

The overall grid functions as a storyboard or narrative matrix, each unit contributing fragmentary episodes that collectively evoke allegorical interpretation. Bread figures oscillate between passive stillness and dynamic movement, framed against symbolic spaces including domestic interiors, institutional buildings, and undefined surreal landscapes. The composition establishes interplay between everyday edible forms and monumental human constructs, embedding metaphoric significance within serialized pictorial structure.

Interior presentation space with multiple seated attendees facing a speaker positioned near a vertical projection screen mounted on a wall. The environment features exposed concrete columns, high ceilings, suspended pendant lamps with black housings, and decorative string lights forming illuminated arcs across the ceiling and structural supports. The speaker stands holding a microphone, addressing the audience positioned in rows of chairs oriented toward the front. A large rectangular display screen shows a solid blue background, framed within a darker housing and integrated into the wall behind the presentation area. Attendees are seated on lightweight chairs, wearing varied clothing in neutral and colored tones, while some individuals are partially visible standing near the periphery of the event area. Architectural elements include a mix of raw concrete textures, modular wall panels, and partial dividers separating zones within the room. Natural light is diffused through glass openings in the background, complementing artificial illumination from pendant fixtures and string bulbs. The spatial configuration emphasizes a communal gathering for presentation, discussion, or lecture, integrating structural industrial finishes with decorative lighting features and audiovisual equipment.

The image is a monochrome comic panel featuring a bread-headed anthropomorphic character in dialogue. The central figure has a large, rounded head with minimal facial detailing consisting of a vertical line running down the center, two small black eyes positioned midway, and a small circular mouth near the bottom. Simplified ears extend from both sides of the head, while short curved lines indicate sparse hair growth.

The background is left blank, focusing all attention on the characters and speech balloons. At the top right, a speech balloon reads: “WHAT WERE YOU DOING IN THERE?” The bread-headed figure responds in a second speech balloon positioned lower right, stating: “I WORK HERE.” The text is rendered in all uppercase letters, using a clean hand-lettered style typical of comic dialogue.

The framing is rectangular with clean black outlines, and the composition directs focus onto the exchange between the unseen speaker on the left margin and the bread-headed character centered within the panel. The use of minimal linework and absence of background scenery emphasizes the humor and absurdity of the conversational content.

This panel exemplifies the graphic storytelling branch of Walking Bread material, where the bread-headed motif is integrated into sequential art and satirical dialogue, extending the concept beyond sculpture and live performance into comic media.